While I talk about audition preparation from the candidate’s perspective here, Dave Bilger (principal trumpet of the Philadelphia Orchestra) is talking about the process from the committee’s side of the screen. I strongly recommend taking a minute to read his perspective.
At most trombone auditions, one can expect to see excerpts from Rossini’s overture to La Gazza Ladra and/or William Tell. These excerpts consist of extended fast articulated passages and are a good indicator of a candidate’s technical ability. However, far too often, people who can play the fast runs well still are eliminated because of their performance on […]
In my last post, I mentioned long tones as an example of the kind of thing that can benefit from practice with a drone. I did so with some amount of resignation: I’ve never liked long tones. They may be the most boring part of my practice. By definition long tones are slow to get […]
In my current practice schedule, I record myself playing at least one mock audition six days a week. Recording myself is an important element of my practice methodology for two major reasons. Most obviously, listening back to a recording allows me to objectively critique my own playing. By completely separating the processes of performance and […]